If you could turn a pickup truck commercial into a full-length feature, it would look a lot like Homefront.

Gleaming with fresh electro-plate and a supercharged engine named Jason Statham, Homefront is designed as a major piece of machinery tailored to a decidedly masculine taste.

You can tell which demographic the movie has in its crosshairs the minute this Gary Fleder (Things to Do in Denver When You’re Dead) movie kicks off with a group of bikers in the midst of brokering a big deal.

Statham is recognizable under a wig, and cloaked in a stiff hide emblazoned with the gang name and the requisite skull-based logo. There are a whole lot of guns, and even more macho posturing before the screen explodes in gunfire and the blood starts flowing across the black pavement.

Scenes like this are usually reserved for the final scene, but this Sylvester Stallone script is smart enough to shift things ever so slightly and raise the ante for an even bigger finale when we realize Statham is an undercover good guy, and he has just betrayed a “blood brother” by essentially prompting the death of his son at the hands of the feds.

Jason Statham plays a single dad in Homefront

It’s a personal vendetta now, which means Phil Broker (Statham) has to retire and go into hiding if he’s going to keep his little girl safe from harm. After all, Phil’s wife died, and he’s all she’s got.

He must stay alive to protect her, but that proves increasingly demanding as the movie progresses because a whole lot of people want him dead.

For most mere mortals, it would all amount to a quick and no doubt humiliating end. But such endings are not part of the Statham universe. Nor are they part of Stallone’s, the man behind the manly mental machine that is Homefront.

Sly penned the script for this cross between Dirty Harry and Kramer vs. Kramer, and while that may sound novel, consider Liam Neeson’s latter-day action-hero rebirth in Taken — a movie that looks and feels a lot like Homefront.

Taken worked a little action miracle because Neeson has the gravitas to make us believe he is vulnerable, and therein lies the suspense of the yarn: We always thought he may well die in the process of saving his kid.

The same does not apply to Statham. We suspect he’s always going to survive because he can crack a coconut with his pinky and carve your brains out with the shell.

There is no real suspense. There is only action, and acting, with this particular reel offering a surprisingly equal dose of both.

Most Statham movies have a rhythm — like a bullfight — with Statham charging at every red cape with an awesome display of manly power and eventually goring the cruel torturer in the fancy pants and goofy hat to death.

Jason Statham, right, portrays retired DEA agent Phil Broker

That’s why we tend to love Statham as a presence: He oozes the pathos of a kind-but-beaten animal that finally gets a chance to unleash his power against the generic oppressor.

Phil eventually brokers a quasi-legal, and decidedly not tender, ending for all the would-be matadors who try to stick him, but the best dance is reserved for him and James Franco, the local thug who is trying to move up in the world of meth production.

For every note Statham wisely tries to play down, Franco twirls his ratty ’stache with a note of twisted glee, leaving the viewer trapped somewhere between a Roger Corman killfest and an early taste of Charles Bronson-styled brutality.

None of it really gels, but there’s something giddily ironic about Statham getting his thespian teeth knocked out by the scene-chewers around him. From Franco’s southern drawl to Winona Ryder’s weirdly believable portrayal of a skittish moll, the acting is deep-fried and salty, but oh-so palatable. Even Kate Bosworth as a meth-head mom turns out to be a captivating car crash of a character.

Statham still holds his own when he gets a chance to use his physique, but his dialogue isn’t always an easy sell, especially when you can’t tell what accent he’s trying to butcher.

Not that it really matters. The whole point of a Jason Statham movie is Jason Statham kicking the bejeezus out of bad guys — which he does with all the predictable aplomb we expect.

The thing is, Homefront was clearly going for a little something extra with the big support cast and the emotional, family-man subplot. And because Stallone’s script wanted to touch the heart in addition to pummeling the solar plexus, we feel a certain weight of failure when it doesn’t happen.

Homefront is just another Jason Statham movie. Fortunately, that spells competent entertainment with a blood-red cherry of payback on top.